Origins of the Symphony

1. What is a symphony?
The Oxford English Dictionarys definition of a symphony is an
elaborate musical composition for full orchestra, typically in
four movements.
Many are tonal with the first movement in sonata form.
Many symphonies, including those of Mozart and Beethoven,
however, do not conform to this model.
2. Origins of the word
The word symphony is derived from the Greek, meaning
sounding together or harmonious.
3. 17th Century (Baroque)
For most of the Baroque period, the terms symphony and
sinfonia were used for a range of different compositions,
including instrumental pieces used in operas, sonatas and
concertos. They were usually part of a larger work.
There were two general types of overture: the Italian opera
sinfonia, exemplified by the works of Alessandro Scarlatti;
and the French Overture, exemplified by the works of JeanBaptiste Lully.
Both were structured in three movements; however, the structure
of an Italian sinfonia was fast-slow-fast, while that of a
French Overture was slow-fast-slow.
An overture was composed for a small orchestra (no more than
fifteen players), was relatively easy to play, and was short
in duration (typically six or seven minutes).

4. Rise of the Symphony

The symphony was initially modelled after the Italian opera
overture: Eventually, it evolved into a kind of free-standing
entertainment which could be appended to any function,
operatic or not.
Johann Stamitz and his followers began to develop the
orchestra, basing their music on the Baroque homophonic
style, but now with chords played in unison rather than
contrapuntally.
The Baroque figured bass was now fully written out in specific
parts for all of the instruments, rather than being left to the
discretion of the players.
Basing these larger works on the Baroque three-part sinfonia,
other elements were introduced, such as the contrasts of
dynamics and tempo changes within movements. This kind
music became the basis for the orchestral symphony, and
reached its apex in the works of Haydn and Mozart.
Most preclassical symphonies consisted of three movements.
Although some composers such as Monn had been
experimenting with the four-movement symphony as early
as 1740, four-movement symphonies did not become the
norm until around 1770, the time of the birth of the "mature
classic symphony".
5. Growth in prominence
In the Baroque period, secular music became more prominent
than sacred music. New musical forms such as the sinfonia
were played in the concert hall instead of the church. The
first collections of concert symphonies were published in
Europe between 1740 and 1750.

The court orchestras during the Baroque period expanded in size

to comprise up to twenty players representing various
families of instruments, particularly strings and woodwinds.
Whereas in 1700 most orchestras were private and
supported by royalty, by the end of the eighteenth century
orchestras for public concerts had become increasingly
common, and symphonies were written to fulfill the demand
for orchestral concert music.

6. Binary Form
Many early symphonies were written in binary form.
A typical work in symphonic binary form begins with an A section
with themes in both the tonic and dominant (this section
being called the exposition), a B section which moves
through a variety of keys before settling upon the dominant
again (the development), and a return of A section which
does not modulate in its second appearance (the
recapitulation).
Although binary form uses three distinct sections to the form,
they are not of equal length. The first A section is much
longer than the B, to accomodate the return to A.
7. Sonata Principle
This is considered the most important principle form of formal
design in the Classical period
It is based on moving away from and back to the principal key
The key scheme is clearly articulated and dramatised by contrast
of material.
Form is used to create drama by creating a conflict between

keys in the exposition, exploring the conflict in the

development and reaching a resolution in the recapitulation
8. Sonata Principle 2
A movement in sonata principle falls into 3 main sections
(AA:BA):
Exposition
Development
Recapitulation
(Coda)
9. Exposition
The exposition starts with the 1st subject in the tonic key,
followed by a half cadence in the dominant, a modulating
bridge, the 2nd subject (often in relative or dominant) and
the Closing theme
10. Development
The development begins on the dominant and modulates
through related keys. Previously heard themes are
reharmonized, fragmented and reshaped as this section is
an exploration of the ideas introduced in the exposition.
11. Recapitulation
The recapitulation is all in the tonic key. In this section the
harmonic tension creating during the development is
resolved by returning to the tonic. This is then followed by a
shortened bridge and a repetition of the exposition,
although this section may be expanded upon.
Sonata form can be broken down into much smaller portions.
The key areas of these sections are very important to composers
writing in sonata form, where theme one is in the stable tonic key

and contrasting theme(s) are in unstable key areas (usually

dominant or relative major).
Theme 1 is perhaps more important and thus will be longer, but
often a composer such as Beethoven experimenting with sonata
form will expand greatly on the second theme or development
section.
12. 18th Century
The symphony continued to grow in importance, complexity and
scale during the eighteenth century. Over 16,000
symphonies were composed.
For most of the eighteenth century up to the late 1770s,
symphonies, when played in private settings, were
generally considered background music for such social
activities as card playing and socializing.
Symphonies were typically scheduled at the beginning or end of
a program, when the comings and goings of audience
members were most voluble and intrusive.
13. 18th Century 2
Early symphonies in a 3 movemement form were eventually
replaced with a four-movement form through the addition of
a second middle movement . This form later became
dominant.
14. Structure
The normal four-movement form became:
1. an opening sonata (allegro)
2. a slow movement, such as adagio
3. a minuet or scherzo with trio (ternary form)
4. an allegro, rondo, or sonata

All movements would be in sonata form except the 3rd.

Variations on this layout, like changing the order of the middle
movements or adding a slow introduction to the first
movement, were common.
15. Composers helping the development of the symphony
The development of the symphony can be evidenced in works
by Sammartini, Georg Monn, J.C. Bach, C.P.E Bach and
Johann Stamitz.
At this time the symphony was a structure still under
development, and repeated experimentation was
expanding the complexity of this relatively new musical
form.
16. G.B. Sammartini
He lived from 1700 - 1775 as the son of a French oboe player
who had settled in Italy.
He is considered the most important Italian symphonist of his
time who made essential contributions to the development
of this compositional genre and went on to influence
Mozart, J.C. Bach and Haydn.
17. His Symphonies
Sammartini's approximately 20 symphonies that were written
before 1740 consist, mostly, of three movements and are
written for strings.
His style is reported as having developed from its use of the
Baroque idiom in the style of Vivaldi in his early
symphonies, to his very own early classical style, thus

transforming baroque techniques into his own classical

idiom.
Sammartini incorporated the fast-slow-fast movement structures
to most of his symphonic works, and started using an
earlier version of sonata-form for his first movements.
18. C.P.E. Bach
Lived from 8 March, 1714 14 December, 1788
German composer and son of J.S. Bach
Most important composer in North Germany during the second
half of the 18th century
19. His Symphonies
C.P.E. Bach had written 8 of his 18 symphonies for the Berlin
court
Considering the long time span, in which these symphonies were
written, they are surprisingly consistent in their style.
Few of them were widely known and, since few of his
contemporaries were able to pick up his idiosyncratic style,
C.P.E. Bach's influence on other composers as a
symphonic writer was concentrated on only a few
composers, however, on these, his influence is described
as intensive.
His mastership in development and contrapuntal execution and
his new harmonic coloring points far beyond his own
contemporaries, towards Haydn and Beethoven.
In its ornamentation, Bach's (sensitive) style pointed even
towards Romanticism. However, since he often changed
the mood in his compositions, his works still lacked the
breadth of the later classical style.

His style was, therefore, more influential in Romanticism than in

the 18th century.
20. Johann Stammitz
He was born in today's Czech Republic and lived from June
1717, - 27th of March, 1757.
He was first to recognise that larger classical dimensions also
called for broader contrasts, leading to stable tone colour in
his orchestra.
He also expanded the symphony from three to four movements
by inserting a minuet with trio before the final movement.
22. Haydn
He was named the Father of the Symphony and lived from 31st
March 1732 31st May 1809.
Haydn was an innovator in all musical areas, inspired by folk
music, especially minuets
23. His Contributions
Haydn developed it into a form that eventually swept throughout
Europe.
His music is always extremely well-crafted and seemingly simple
and charming, but with surprises. The most famous
example is the "surprise" in the second movement of his
Symphony no. 94 in G major.
By treated phrase as part of larger rythimic groupings, he
achieved broad rhythmic control. These concepts
subsequently strongly influenced Beethoven.
In his early symphonies, Haydn experimented compositionally,
and he thought of it as light entertainment for people of high

society and uniquely showcased the skills of his players through

solo passages.
By the time Haydn had died the symphony had become the
pinnacle of instrumental classical music.
24 - J.C. Bach
Lived from 5 September, 1735, - 1 January, 1782.
Considered the most versatile composer of all Bach sons.
He had an important influence on the young Mozart and was a
pioneer of public concerts in England.
25. His Influence
His symphonies reflect his vast operatic experience in the
exceptional lyricism of his andante movement and in many
of his allegro themes. Before Mozart, no-one but he was
able to underline the rising and falling of a wonderful
melody as beautifully as Mozart. J.C. Bach's combination
of inventiveness and technical mastery enabled him to
achieve subtle nuances in his thematic ideas.